Wyndham's Theatre

Over 17 years on from his last UK stage outing – with a Broadway Stoppard revival his only other theatre action in the interim – Ewan McGregor returns to the stage in 2025, reunited with Michael Grandage, the director of Guys & Dolls and Othello, the two Donmar Warehouse shows the Scots actor did at the height of his Star Wars fame. My Master Builder is a new play, or rather a new spin on an old play, being up and coming US playwright Lila Raicek’s reworking of Henrik Ibsen’s The Master Builder. Like many of Ibsen’s works, the 1892 drama could reasonably be described as ‘proto-feminist’ without quite being ‘feminist’ – one suspects Raicek is liable to tease the #MeToo implications out of this story of an architect whose world is rocked by the appearance of a young women who says he propositioned her in the past. You might further guess that Raicek may have jettisoned some of the dreamlike symbolism that mark Ibsen’s original – all will be revealed in 2025.

Less than a year after making his Doctor Who-era stage return in the NT’s sublime The Importance of Being Earnest, Ncuti Gatwa is back at it again. And if Earnest was a big ensemble piece in which he was a very enjoyable cog, US playwright Liz Duffy Adams’s Born with Teeth is a two-hander that is presumably pretty much wall-to-wall Gatwa. He’ll star as the legendary playwright Christopher Marlowe opposite Edward Bluemel as William Shakespeare; the year is 1591 and in a paranoid Elizabethan England the two are collaborating on Henry VI together with a mix of flirtation and suspcion. Okay, it does sound a bit like slash fiction, penned by an American playwright barely known in this country. But it’s also an RSC production, directed by the company’s co-leader Daniel Evans – if that’s not a mark of quality assurance, then what is?

Belgian super director Ivo van Hove got his big English-language break with 2014’s astounding production of Arthur Miller’s A View from the Bridge, and a couple of years later lucky New Yorkers got a deluxe production of The Crucible that scored warm reviews (maddeningly it never played here despite its largely British and Irish cast). Since then, Van Hove’s career has gone into overdrive and he’s famous dedicated a lot of time to making stage adaptations of classic films, to mercurial effect.  It would be entirely misunderstanding Van Hove to imagine that he’s returning to the safety of Miller as a result of last year’s colossal West End flop Opening Night. But there will certainly be those glad he’d doing so as he tackles the US playwright’s first big hit, All My Sons.  Set in 1943, the drama concerns Joe Keller, an upstanding pillar of the local community whose business partner has been found guilty of selling faulty parts to the US Airforce. Joe has escaped any blame. But should he have? Van Hove has assembled a proper A-grade cast here, with US star Bryan Cranston – who led the director’s 2017 hit Network –  as Joe, with the wondrous Marianne Jean-Baptiste as his wife Kate and Paapa Essiedu as their son Chris.